Passing on up two steps beyond these three bays we come to arches somewhat different; while we observe a corresponding change in the character of the liern vaulting overhead. We are now in the presence of Early English masonry, wrought a century before under Bishop Northwold, and perhaps yet lovelier than the Decorated work which was her daughter. Arch beyond arch, six in number, extends this Presbytery, as it is called, ending in an east window of three lower lancet lights, with an upper tier of five smaller lancets. The Northwold Presbytery does not merge imperceptibly into Alan's Choir; for the transition is marked on either hand by a semicircular shaft of stone that soars aloft, the only remnant left to us of the eastern limb of the original Norman church. These venerable piers therefore deserve our special notice, though they might not attract it if we were ignorant of their story. They themselves stand as raised by their builders, but Bishop Northwold gave them new capitals of Purbeck marble harmonising with the work he was erecting eastward. Next let us study the modern reredos or altar screen, all of white stone and marble, having as its background the three lancet windows of the east end, filled with not unworthy modern glass, against which it stands out with grace and dignity; a space of thirty feet intervening. The reredos consists of five spandrels surmounted by gables, and is made of alabaster, lavishly gilt and bejewelled, inlaid with mosaic. On the highest gable stands a figure representing Christ in Glory, His hand held forth to bless His people. Immediately below comes the Annunciation, carved in low relief in a trefoil-shaped medallion. Below again is a statuette of our Lord, with Moses and Elijah on either hand, and beneath these, under a canopy of alabaster, is the Last Supper. In a line with this, still in the same high relief, is sculptured our Lord's triumphal entry into Jerusalem, His washing of the Disciples' feet, His agony in Gethsemane, His bearing of the cross. Immediately over these Gospel scenes, under the shadow of a marble canopy, we have the heads of the four great prophets, Isaiah, Jeremiah, Ezekiel, Daniel, on one side, balanced on the other by the four Latin doctors of the Church, St. Jerome, St. Ambrose, St. Augustine, St. Gregory. Within the four side spandrels are carved the heads of Mary Magdalene, of Mary the mother of James, of St. John the Evangelist, and St. John the Baptist; on the points of the gables above are the four Evangelists, while between them, and flanking them, stand on spiral pillarets delicate figures emblematical of faith, hope, and charity, of justice, prudence, and fortitude--those graces and virtues which made the saints here represented to be such.